Billy BrownWaltz of the Flower, from Alabama Ballet's production of George Balanchine's "The Nutcracker."

Now in its 10th December performing George Balanchine’s “The Nutcracker,” Alabama Ballet hasn’t run out of delightful surprises.

Balanchine can be thanked for that, his sparkling and demanding choreography revealing new subtleties at each viewing. As in a great novel, they creep in unexpectedly at repeat readings — a symmetrical corps formation, a flip of the arm to a flute passage, a prop movement aligning to a musical phrase, the balance of chaos and order in the party scene. They give depth and enchantment to an annual tradition that might otherwise fall into humdrum routine.

Alabama Ballet is equally responsible. By recycling roles and double-, even quadruple-casting during its two-week run, they share the wealth of talent in this fine company and its community cast. When next year rolls around, there is a pool of veterans.

Chief among them is Tatiana Ledovskikh, the company’s prima ballerina and Bolshoi alumna whose Sugar Plum Fairy continues to engage at every level. At opening night on Friday (she reprises the role on Dec. 18), she was the picture of refinement, her slender limbs perfectly positioned and extended, her stage presence compelling. She has found an ideal partner in Nukri Mamistvalov, a tall, thin and muscular Cavalier whose effortless lifts were as natural as his athletic cross-stage fouettes.

Chinatsu Owada’s feathery and graceful Dew Drop Fairy highlighted “Dance of the Flowers,” one of the evening’s most impressive ensemble numbers. Frederick Rocas in “Tea,” David Bauser’s Candy Cane and Samantha Galler in “Coffee” were among the other standout solos.

Still missing from the production is a live orchestra. Dancers and audiences deserve it, but financial constraints haven’t allowed it. Maybe next year?

But “The Nutcracker” is mostly about kids, and a wild dream. Balanchine’s sensitivity to young dancers came through in the 75 or so community cast members, who adhered well to pivotal points in the action that Balanchine planted in Tchaikovsky’s score. From the Act 1 party shenanigans to their emergence from Mother Ginger’s giant skirt, they were consistently smart and dramatic.

The lead children — Rachel Lockhart and AJ Turner — were endearing as the Princess and Prince, AJ turning in a precise and communicate mime as he retold his victory over the Mouse King.

As the couple took flight on a giant sleigh to the ballet’s final strains, it left little room to escape the holiday spirit.